Issue 22 (2016, 2) Summary

ARTICULT #22 (2-2016) June-September

SUMMARY

THEORY OF ART

COMMUNICATION AND CULTURE: TO NON-APOLOGICAL HISTORY OF MASS COMMUNICATION (CONTINUATION)UDC 130.2+7.01Author: Hrenov Nikolai, Dr.Habil. in Philosophy, Professor, Chief Researcher at the Department of Arts and mass media of the State Institute of Art Studies (Moscow, Russia), e-mail: nihrenov@mail.ru
ORCID ID: 0000-0002-6890-7894Summary: The article examines the implications of communications to the formation of mass performances and evaluation by the end-user of variety of means of communication. Indicating the limits of the recognition and trust to different media it is proved that the formation of the structures of the various media is involved in the reaction of the end-user. The impact of media on the public fits into the overall culture of spectacle, and it is proved that rules of directing spectacles determines not only the content but also the differentiation of new media. Keywords: communicative explosion, communication, media, personality in the culture, individualization, mass culture

FROM SCHOLASTICS TO MECHANICS: HOBBES’ THEORY OF VISUAL PERCEPTIONUDC 7.01Author: Afanasev Anton, graduate student in the National Research University NRU “Higher School of Economics” (Moscow, Russia), assistant in Poletayev Institute for Theoretical and Historical Studies in the Humanities NRU HSE, e-mail: ant.afanasev@gmail.comSummary: The article deals with the origins of Hobbes's representations of visual perception, to show by way of example, on the one hand, the functioning of the mechanism of perception in the work of Hobbes and, on the other hand, features the conversion from the scholastic understanding of sensation to the mechanistic treatment. Shall be reconstructed a context of the emergence of Hobbes’s optical theory, established the lines of succession (J. Kepler, I. Beckman, W. Warner). The author argues that Warner’s optical theory was a connecting link between the scholastic aristotelianism and Hobbes’s mechanicism and prepared the way to change from the metaphysical to the physiological understanding of visual perception. Keywords: Hobbes, aristotelianism, mechanicism, motion, visual perception, natural philosophy

PROPORTIONS IN THE GABLED ALTARPIECES OF THE LATE DUECENTO AND EARLY TRECENTOUDC 7.034(450)Author: Parfenova Elena, Ph.D. Student of Moscow State Academic Art Institute named after V.I. Surikov (Moscow, Russia); lecturer of the Industrial Design Department in Bauman Moscow State Technical University (Moscow, Russia), e-mail: legolubeva@yandex.ru
ORCID ID: 0000-0001-7499-0359Summary: This article is devoted to the investigation of the problem of proportion and measure in the monumental gabled altarpieces of the late Duecento and early Trecento. Art historians had found that proportions of Italian works of art reflect a geometrical system based on the square and some works of Chimabue, Duccio, Giotto, Taddeo Gaddi, Maso di Banco, Bernardo Daddi will be taken for analysis from this point of view in this issue. This is important from a historical point of view, because the study is approved that the artists of Duecento and Trecento understood the importance of exact proportions in the works of art. As exactly found proportions give it the necessary harmony and lightness of perception. In a long term priorities the results of this investigation provide potential assistance when used in the conjunction with stylistic and other physical evidence in solving problems of attribution and restoration. In general, the study expands our knowledge about the Italian art of the end of the XIII – beginning of the XIV century.Keywords: art, Trecento, Duecento, proportion, square, diagonal, rectangle, Cimabue, Duccio, Giotto

PIETRO DI GOTTARDO GONZAGO'S ART IN RUSSIA: ON THE PROBLEMS OFPRESERVATION OF FRESCOES OF GONZAGO'S GALLERY IN PAVLOVSKUDC 75.021.333+75.025Author-1: Vaskina Alexandra, Student of the third course of Steightz Academy of Industrial Arts (Saint Petersburg, Russia), e-mail: vaskinaalexandra@gmail.comAuthor-2: Prohin Ivan, Ph.D. Student of the third course of Steightz Academy of Industrial Arts (Saint Petersburg, Russia), e-mail: prokh.rest@gmail.comAuthor-3: Sheshina Anna, Student of the third course of Steightz Academy of Industrial Arts (Saint Petersburg, Russia), e-mail: annasheshina.d@mail.ruSummary: This work is dedicated to the fate of the unique creation of Pietro di Gottardo Gonzaga in Russia – “Gallery Gonzaga”. A history of painting galleries,who was influenced by a variety of negative factors, she came in a dilapidated state. In our article we attempt to understand why painting, is worthy of close attention connoisseurs of art, has practically disappeared forever. We want to illuminate the theme in which a variety of distortions, like the lack of direct evidence in written sources was expressed in a number of issues on which to the present debate, namely technical and artistic questions create galleries Gonzaga. The reason for writing this article is based on new materials that shed light on some of the pages of the life history of the Pavlovsk Palace and paintings in the gallery. The research material was a long and laborious work of student of Steightz Academy of Industrial Arts, who were engaged in the restoration of the dismantled in the 1970s. fragments of the original painting and re-analyzed archival data, fixation designs. The article discusses the history of the gallery, its destruction, restoration and reconstruction. A specific example of methods of conservation and restoration of dismantled pieces. Keywords: Gallery Gonzaga, Pavlovsk, restoration, conservation of the frescoes

PORTRAITS OF V. BOROVIKOVSKY IN THE FIRST HALF OF THE 1800-IES: TO THE PROBLEM OF PORTRAIT AND STYLE AT THE TURN OF THE XVIII CENTURYUDC 7.041.5Author: Abramkin Ivan, Ph.D. student, Lomonosov Moscow State University (Moscow, Russia), e-mail: ivan_terracot@mail.ru
ORCID ID: 0000-0001-7648-2446Summary: The objective of the article is the research of several Borovikovsky female portraits created in the first half of the 1800-ies. Their consideration allows revealing important methodological problem. It is the use of different style definitions in the description of the works in a situation of coexistence of classicism, romanticism and sentimentalism. Keywords: V. Borovikovsky, sentimentalism, the problem of style, the methodology of the portrait

THE MUSICAL ASPECT OF CONCEPTUAL ARTUDC 7.036Author: Gorbenko Anna, State Classical Academy named after Maimonides (Moscow, Russia), e-mail: aniagorbenko@mail.ruSummary: This article is dedicated to esthetics special aspects of the conceptual works in the musical art. Here were enduced specific peculiarity of conceptual art in works of Iraida Yusupova and conceptual features in works of Vladimir Tarnopolsky. Marked features of a component of a work of art as a concept. It noted some distinctive features, bringing together music from conceptualism conceptualism in other forms of art. Keywords: conceptualism', multimedia opera, mystery, intetextuality dematerialization of geners

ENVIRONMENTAL ART AS A STRATEGY FOR TRANSFORMATION OF THE CITYUDC 7.036Author: Nevlyutov Marat, Ph.D. Student, Research Associate of the department of Theory of Architecture Research Institute of Theory and History of Architecture and Urban Planning (NIITIAG, Moscow, Russia), e-mail: mnevlyutov@gmail.com
ORCID ID: 0000-0003-0671-7187Summary: Environmental art is a young genre of contemporary art. The focus of it is environmental issues. But all the problems of modern civilization is environmental, because the notion of “ecology” does not have object’s boundaries. Environmental art is a reflection of the realities of the modern world and it demonstrates the strategy of transforming a series of structural principles of our civilization. So, environmental art is changing the way our existence and transforming our cities. Keywords: ecology, environmental art, modern city, civilization, nature, future, alienation

ESCHATOLOGICAL MYTHOLOGY IN MODERNIST CINEMA-NARRATIONUDC 791.43.01Author: Ganzhara Ol'ga, PhD in philology, assistant professor in North-Caucasus Federal University (Stavropol, Russia), e-mail: snark44@yandex.ru
ORCID ID: 0000-0002-6063-9055Summary: The cinemareality makes an imaginary object, using the reality of the world as a background to make some impression, as basis of the new myth about the end of the world. It’s the way of prototext making, a prototype of the world and existence in a cinematext as a prototype for subsequent identifications. Narrative space of cinema in early XX century makes illusion of reality, substituting world’s space. There is a figure of mythology space, describing world as non-linear and discrete one, aspiring to entropy. Keywords: semiotics of cinema, semiotic space of contemporary culture, identity, human idea, national idea, vitalism, destruction, eschatology

MUTUAL INFLUENCE BETWEEN POPULAR CINEMA AND URBAN LEGENDS: THE CASE OF HORROR FILMUDC 791.43-2+791.43.01Author: Ionov Alexey, postgraduate student in Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: ion.alexey@yandex.ruSummary: The article researches the interaction between cinema and urban folklore by means of searching a mutual influence between horror film and urban legend genre. Horror both exploits the existent urban legends and creates new ones with the help of mythologization of its images and plots. It happens either naturally («Halloween»), or as a result of activity of filmmakers («The Blair Witch Project»). Keywords: cinema studies, urban legend, horror, folklore, mythologization, globalization, slasher, found footage, Internet

AUTHOR-NARRATOR CONFLICT IN CINEMATIC TEXT. NARRATIVE CODE IN THE FILM “AGONY”UDC 791.43-2+791.43.01Author: Ozerenchuk Marina, student of Russian State University of Cinematography named after S. Gerasimov (Moscow, Russia), e-mail: marina0328132@gmail.comSummary: According to the theorists of literature and cinema, the student is looking for a way to find out the author in cinematic text. The practical example of theoretical propositions becomes a film “Agony” (1974/1981), which was directed by Elem Klimov. Keywords: cinematic text, author, the narrator, discourse, narrative focalization

DEPERSONALIZATION OR DISSOCIATIONUDC 616.89-008.485+616.89-008.487Author: Rudnev Vadim, Dr. Habil, leading research fellow, chair of philosophical anthropology, Philosophical Faculty, Moscow State University named after M.V. Lomonosov (Moscow, Russia), e-mail: vprudnev@mail.ruSummary: In this issue we consider the case of depersonalization with dissociation. The patient separated into two subpersonalities, one of those lied motionlessly on the bed and the another observed him. Those cases are untypically because in dissociation subpersinalities don’t know each other. In his dreaming the patient got into temporal vortex. The investigation of this case turned us to propose a hypothesis in which we claim that there is a lack of point of the present in psycho, due to which we can exist in normal state of psychics. Keywords: depersonalization, dissociation, dreaming, psycho, time, body, unconscious

“HIEROGLYPHIC” ICONOGRAPHY BY E. MALEUDC 7.04Author: Chuvorkina Olga, independent scholar, e-mail: ochuvorkina@gmail.com
ORCID ID: 0000-0002-6386-3351Summary: The article traces the first steps in development of iconographic approach closely connected to the history of Christian images, the tradition of their interpretation as well as medieval studies itself. Iconography as tool for studying and understanding medieval art elaborated by French scholar Emile Male is analyzed and discussed in terms of strengths and weaknesses. Keywords: Iconography, E. Male, Christian archeology, sacral script, hieroglyphics, symbolic code, “Speculum majus”, art and liturgy

POET’S LEVITATION: VISUAL MODELS OF M. BULGAKOV’S PROSEUDC 791.43-2+82-312.2Author-1: Arustamova Anna, Dr.Habil. in philology, professor, Perm State National Research University (Perm, Russia), e-mail: aarustamova@gmail.com
ORCID ID: 0000-0003-3079-0253Author-2: Markov Alexander, Dr.Habil. in philology, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: markovius@gmail.com
ORCID ID: 0000-0001-6874-1073Summary: In the final novel by Mikhail Bulgakov dialogue with predecessors (Pushkin, Gogol, Dostoevsky) is not only at the level of literary quotations and allusions, but also in the visual solutions, presented as interaction on discoveries made by these writers. The most important for the ideology of the novel model release as detachment from the ground given in the pathetic and burlesque manner, based on the most important visual images of the Russian literary tradition: a monument to Pushkin by Opekushin as universal free poetry model, flights of Gogol’s figures as genre realization of romantic fantasy, Dostoevsky game picture of the trial as detached from social reality as an assertion to the contrary of the law values. These key visual motifs are borrowed and developed by Bulgakov, which allows it to combine the features of a romantic hero with the concepts of freedom, corresponding to the 20 c. civilization development. Analysis of the work of Bulgakov in comparison with visual symbols of Russian culture allows to specify particular understanding of the relationship between their artistic and social freedom. Keywords: Bulgakov, the film adaptation, visual literature, visual traditions, visual comedy, literary canon